For Fall/Winter 2017, Valentino managed to strike a difficult balance between looks that are modern but modest.
Why does Valentino have a significant amount of clients in the Middle East, to the point where the brand became the crown jewel in a recent buyout by the Qatari investment group, Mayhoola? Perhaps it is because Creative Director Pierpaolo Piccioli has managed to strike a difficult balance between looks that are modern but modest.
After all, modernity and modesty are the twin pillars supporting the walk-in wardrobes of thousands of Middle East clients and it is not easy to do both so easily. Usually one is sacrificed for the other: modernity suffers when a look is too covered-up and mumsy, and modesty suffers when modern hemlines are introduced. Valentino, however, is keen on both, evidenced by yet another collection of long, floaty dresses and outerwear, this time decorated in a prismatic array of eye-popping prints.
Long dresses paired with combat boots pointed to the way many of Valentino’s younger patrons are adapting occasion styles for day by pairing lavish frocks with functional footwear. Styling noted and appreciated. A loose dove-gray version with rows of puffy floral stems along the hem worn with high, glossy lace-up boots is the kind of current look that appeals to a wide demographic of women. Printed velvet suits were also developed for day, as were graphic sweaters, swishy maxi skirts, and handsome trench coats.
Valentino’s rare ability to satisfy a multitude of desires and wardrobe needs should not be taken for granted.
By Look 50, the clothes took a turn for evening, signaled by a glittering “naked” dress worn by the ethereal Lineisy Montero. Sequins, lace, inverted pleats, plissé chiffon, and Victorian dresses in “Valentino red” dominated the finale, each prettier than the last. Cultures are so varied across the Middle East – not to mention the entire globe – so Valentino’s rare ability to satisfy a multitude of desires and wardrobe needs should not be taken for granted.